Ben Miethke Rolls with the Punches in Guinness Spec

How did you get into directing?

The first film I made was a crappy skate film with my brother. I was always filming stuff so when I finished school with low grades, I just wanted to get into film. Initially I was writing then I switched to directing.

You’re still studying at Film Academy Baden-Württemberg. How has the school shaped your outlook on directing?

Studying here is a huge privilege. We are urged to develop and craft our own style. I’m really inspired by my tutors and fellow students.

What inspired your Guinness spot?

The idea came from several different sources. I grew up in a pretty dismal district in Krefeld, Germany, and played football for several years. I always wondered why the matches we played with teams from neighbouring districts were so heated. Sometimes the games even had to be cancelled due to fights on the pitch. It was strange; we all grew up in the same barren area yet there was so much hate between us. When I found David Coffin’s version of the song, Roll the Old Chariot, and discovered the rugby pitch on Inishturk, an island off Ireland’s west coast, via a Reddit thread, I wanted to transfer my sporting experiences to Irish rugby teams that originated from a similarly bleak world to mine.

Where did the shoot take place and how long were you on location shooting?

When we were searching for a location, I remembered the stunning scenery of the pitch that I’d seen in the photo earlier, so my producer, DP and I went to visit it. We were all fascinated by the island’s history and its inhabitants. We ended up shooting three rolls of film on the tech recce. Three weeks later, we came back for two days to shoot the lads.

What did you have to consider when making the spot fit Guinness’ signature style?

I think Guinness’ approach is bold yet timeless – characteristics I wanted to evoke in my story. It does feel a bit 1990s and nostalgic, but I played on this by shooting on 16mm and using the 4:3 format. Although some Guinness ads are funny, I wanted to tap into its slightly more serious style depicted in the ‘Made of More’ series. And the freeze frames are an homage to Jonathan Glazer’s great Guinness films. 

What was the casting process like and what were you looking for in your characters?

I knew the film could only work if a rugby-playing, Guinness-drinking Irishman liked it. So I decided to use a local team. We contacted a few rugby teams in County Mayo and pitched our idea to them after a training session. It was 9pm; they were all exhausted, covered in mud and blood. They were all listening, but not saying a word, just staring at me, and I thought‚ “Oh shit, you freaking German. Why did you think these men would want to be part of your film?” But when I asked who’d like to join in, all of their hands shot up. And I knew it was going to be fun.

“It’s the contrast that makes the film. The music, the rough game and the distinct faces are juxtaposed with the introverted protagonist’s thoughts.”

Tell us about the process.

I wanted to tell the story of the loser, who’s the anti-hero character in this spot. It’s the contrast that makes the film. The music, the rough game and the distinct faces are juxtaposed with the introverted protagonist’s thoughts. Though he doesn’t win the match, his sense of personal victory means the viewer feels empathy for him.

What keeps you inspired and what do you love most about the creative industry?

Paintings by Elizabeth Chaplin, Russian orthodox choral music and the work of photographer Tobias Zielony.

What other projects are you working on?

Right now, I’m in pre-production for another spec spot. I can’t say much except that it’s a story inspired by my friends and me.